Skip to main content

Full text of "Jean Xceron"

See other formats


Digitized  by  the  Internet  Archive 

in  2011  with  funding  from 

Solomon  R.  Guggenheim  Museum  Library  and  Archives 


http://www.archive.org/details/jeanxceronOOrobb 


JEAN 

XCERON 


THE  SOLOMON  R.  GUGGENHEIM  MUSEUM,  MEW  YORK 


©  1965,  The  Solomon  R.  Guggenheim  Foundation,  New  York- 
Library  of  Congress  Card  Catalogue  Number  65-26312  Printed  in  the  United  States  of  America 


THE    SOLOMON     K.    Gt'fJGEXHKIM     KOITXDATION 


TRUSTEES 


HARRY  F.  GUGGENHEIM,  PRESIDENT 


ALBERT  E.  THIELE,  VICE  PRESIDENT 


H.H.  ARNASON,  VICE  PRESIDENT,  ART  ADMINISTRATION 


ELEANOR,  COUNTESS   CASTLE  STEWART 


DANA  DRAPER 


PETER   O.  LAWSON-JOHNSTON 


A.  CHAUNCEY    NEW  LIN 


MRS.  HENRY  OBRE 


DANIEL  CATTON  RICH 


MICHAEL  F.WETTACH 


MEDLEY    G-.  B.  WHELPLEY 


CARL  ZIGKOSSEK 


JEAN  XCERON  is  of  Greek  birth.  His  own  form  language,  which 
reinforces  the  stylistic  current  of  geometric  abstraction  that  is  rooted  in 
Mondrian's  neo-plasticism,  came  fully  into  its  own  between  the  two 
world  wars,  to  remain,  in  modified  form,  a  vital  force  in  our  own  time. 
In  the  United  States,  Xceron's  adopted  home,  the  artist  was  a  daring 
pioneer  before  he  earned  for  himself  the  esteem  and  the  admiration 
accorded  to  old  masters. 

It  is  eminently  fitting  that  his  distinguished  career  as  a  painter  should 
receive  its  most  decisive  endorsement  through  a  one-man  show  at 
The  Solomon  R.  Guggenheim  Museum.  For  it  was  this  museum's  first 
director,  Miss  Hilla  von  Rebay,  who,  far  back  in  the  1930's,  acquired 
Xceron's  work,  and  James  Johnson  Sweeney  who,  long  before  succeed- 
ing the  Guggenheim's  directorship,  aided  the  artist  in  his  strive  for 
recognition  in  this  country.  Partly  as  a  result  of  such  endorsements, 
Jean  Xceron  literally  found  a  home  in  The  Solomon  R.  Guggenheim 
Foundation,  where  he  has  been  employed  and  has  fulfilled  his  duties 
with  attentive  loyalty  ever  since  1939. 

The  current  exhibit  surveys  selectively  Jean  Xceron's  life-work.  The 
artist  himself  has  spent  considerable  time  and  effort  in  making  sure 
that  both  the  exhibition  and  the  catalogue  reflect  his  career  faithfully. 
With  his  assistance,  Daniel  Robbins,  until  recently  Assistant  Curator  of 
The  Solomon  R.  Guggenheim  Museum,  carried  out  and  completed  the 
task.  As  director  of  the  Museum  of  Art  of  the  Rhode  Island  School  of 
Design,  Mr.  Robbins  will  have  the  satisfaction  of  sharing  the  Xceron 
retrospective  exhibition  with  the  Guggenheim  Museum. 

Thomas  M.  Messer,  Director 


LEPERS 


Mr.  and  Mrs.  Norman  Belgrade.  Chicago 

Lawrence  Bloedel,  Williamstown,  Massachusetts 

Mr.  and  Mrs.  Saul  Edelbaum,  New  York 

Rose  Fried,  New  York 

The  Joseph  H.  Hirshhorn  Collection,  New  York 

Mr.  and  Mrs.  Edgar  B.  Miller,  Chicago 

Mr.  and  Mrs.  Fred  Olsen.  through  The  Olsen  Foundation.  Guilford,  Connecticut 

Denis  E.  Paddock,  New  York 

Mr.  and  Mrs.  Walter  Nelson  Pharr,  New  York 

Mr.  and  Mrs.  George  Phillips.  Jr.,  Chicago 

Miss  Hilla  von  Rebay,  Greens  Farms,  Connecticut 

Miss  May  Walter,  New  York 

Mary  Dorros  Xceron,  New  York 

Krannert  Art  Museum,  University  of  Illinois.  Champaign 
The  Solomon  R.  Guggenheim  Museum,  New  York 
Whitney  Museum  of  American  Art,  New  York 

Rose  Fried  Gallery,  New  York 


11 


XCERON 


BY  DANIEL  ROBBINS 


Jean  Xceron  learned  about  Classical  antiquity  at  the  Corcoran  School  of  Art  in  Wash- 
ington, D.C.  Between  1910  and  1917.  fitting  his  academic  training  into  a  sporadic  schedule  of 
odd  jobs  within  the  local  Greek  community,  he  worked  from  plaster  casts,  patiently  adapting 
studies  of  bones  from  the  morning  anatomy  class  to  the  contour  drawings  demanded  each 
afternoon.  In  Washington.  Xceron  discovered  that  there  was  special  cultural  distinction  in 
being  a  Greek,  descended  from  the  historical  source  of  beauty  as  well  as  democracy.  Like  the 
rest  of  the  Greek  community,  he  was  proud  to  realize  that  Classical  tradition  was  the  basis  of 
the  Beaux-Arts  ideal ;  and  it  must  also  have  been  satisfying  to  observe  that  his  adopted  coun- 
try designed  the  official  buildings  of  its  capital  in  imitation  of  ancient  temples.  But  in  1910, 
it  was  somewhat  difficult  for  Xceron  to  think  of  those  ideals  directly  in  connection  with  his 
immediate  past.  Those  plaster  casts,  reflections  of  unseen  originals,  and  those  government 
buildings,  colossal  derivatives  from  unremembered  prototypes,  did  not  reflect  the  Greece  of 
his  boyhood.  In  the  Greek  Orthodox  church,  and  in  the  homes  of  relatives  and  friends,  he  had 
seen  and  admired  ikons,  not  Praxiteles ;  and  to  relieve  the  cast  copying,  he  spent  hours  in  the 
Library  of  Congress  studying  plates  of  Ravenna  mosaics,  rendering  them  in  watercolor,  even 
venturing  his  own  designs  for  mosaics  and  pictures  of  the  saints.  Furthermore,  he  knew  that 
every  town  in  the  United  States  where  Greeks  settled  needed  such  images. 

Xceron  was  fourteen  when  he  arrived  alone  in  New  York,  fresh  from  a  small  mountain 
village,  Isari  Likosouras,  in  the  heart  of  the  Peloponnesos.  His  father,  Petros  Xerocostas,  was 
a  blacksmith,  and  at  home  there  had  been  no  memories  of  a  Classical  past.  Instead,  there  had 
been  stories  about  the  heroes  of  the  Greek  revolution,  whose  portraits  Xceron  had  painted  on 
the  walls  of  his  father's  house.  There  were  also  ikons  in  the  Byzantine  tradition,  for  the  saints 


12 


like  the  revolutionary  heroes  of  less  than  a  hundred  years  before,  formed  a  real  part  of  his 
family's  life.  To  be  an  artist  in  such  a  tiny  village  was  improbable,  but  the  precocious  decora- 
tions he  made— the  sculpture  fashioned  from  bits  of  iron,  copper  wire  and  other  scraps  from 
the  blacksmith's  shop,  the  engravings  on  stone— these  were  admired  as  embellishments  and 
signs  of  able  craftsmanship. 

Xceron  had  relatives  in  America;  in  Washington,  in  Indianapolis,  in  Pittsburgh, 
brothers  and  cousins  of  his  father  had  launched  hat  cleaning,  shoeshine,  ice  cream  and  candy 
shops.  These  industrious  immigrants,  who  formed  closely-knit  groups  in  each  community, 
welcomed  the  fourteen-year-old  Xceron  as  a  countryman  and  an  additional  hand.  From  1904 
to  1910  he  lived  with  relatives  in  the  Greek  communities  of  these  three  cities,  finally  settling 
in  Washington  only  when  he  was  twenty  and  determined  to  be  an  artist.  His  skill  was  useful 
to  the  community,  which  turned  to  him  for  ikons.  In  1918,  to  celebrate  Greek  Independence 
Day  and  Greek-American  solidarity,  he  was  asked  to  paint  an  enormous  temporary  mural  for 
the  pediment  of  the  Treasury  Building:  scenes  of  Greek  gods  and  heroes,  balanced  against 
modern  patriots  and  soldiers.  Xceron's  Corcoran  training  was  helpful  to  him,  and  the  pageant, 
with  Xceron's  decorations,  was  such  a  success  that  the  Greek  flag  and  Xceron's  decorations 
adorned  the  Treasury  Building  all  day  long. 

While  at  the  Corcoran,  Xceron  not  only  encountered  his  presumed  Greek  heritage,  but, 
more  subversively,  acquainted  himself  with  the  new  traditions  of  modern  art.  Among  his 
fellow  students  (who  also  included  Abraham  Rattner)  were  George  Lohr  and  Charles  Logasa. 
largely  responsible  in  1916  for  creating  Washington's  "Armory  Show"  by  borrowing  a  large 
group  of  paintings  from  Alfred  Stieglitz  in  New  York.  Although  this  tardy  version  of  the  ex- 
hibition that  had  shocked  New  York,  Chicago  and  Boston  created  little  furor  in  Washington, 
it  made  a  profound  impression  on  Xceron,  who  realized  that  his  own  preference  for  the  flat, 
rich  patterns  of  mosaic,  with  their  expressive  distortion,  was  a  great  deal  closer  to  the  pro- 
gressive ideal  than  to  his  careful  renderings  from  casts  and  models,  even  if  they  were  Greek 
and  certified  by  his  art  teachers.  As  a  consequence,  during  his  last  year  at  the  Corcoran  he 
began  to  be  regarded  as  a  revolutionary.  His  increasingly  free  interpretations  of  the  model 
(he  painted  a  blue  self-portrait  with  cubist  faceting  a  la  Picasso)  and  his  earliest  non- 
student  works,  Crucifixion  No.  6,  1917,  and  especially  Adam  and  Eve  No.  9,  1919,  show  a  graft- 
ing of  cubism  to  Byzantine  tradition.  In  his  limited  palette  range,  his  geometric  distortion  of 
figures  and  his  shallow  space,  Xceron's  debt  to  early  twentieth-century  French  painting  was 
already  evident,  but  in  the  scale  of  his  work  and  in  its  naive  charm,  he  preserved  the  feeling  of 
a  provincial  ikon  painter.  The  most  advanced  formal  and  iconographic  device  in  the  little 
Adam  and  Eve  is  the  tree  that  vertically  divides  the  work,  serving  simultaneously  as  snake  and 


Xceron's  house  in  Greece 


Xceron  with  cast  at  Corcoran 


13 


tree  trunk,  with  the  apple  functioning  as  the  snake's  head.  For  a  short  time  Xceron  flirted 
with  the  idea  of  making  his  living  as  a  religious  painter,  he  even  planned  a  series  of  murals 
for  the  Greek  Orthodox  church  in  Tarpon  Springs,  Florida.  He  soon  realized,  however,  that 
the  cozy  and  insulated  Greek  community  was  not  where  art  was  advancing,  so  turning  his 
eyes  toward  Paris,  he  moved  to  New  York. 

It  was  in  New  York  that,  for  the  first  time,  he  encountered  another  world  and  discovered 
to  his  surprise  that  the  solidarity  then  existing  among  artists  was  not  unlike  that  which  had 
sheltered  him  since  his  arrival  in  America.  He  became  friendly  with  Torres-Garcia,  who 
painted  his  portrait  in  1920  and  met,  among  others,  Weber,  Walkowitz  and  Stella.  He  fre- 
quented the  Metropolitan,  the  Public  Library  and  the  Whitney  studio,  and  with  his  new 
friends  exhibited  in  the  New  York  Independents  in  1921  and  1922  at  the  Waldorf.  He  began 
to  travel  independently,  going  up  the  New  England  coast  as  far  as  Ogunquit,  Maine.  The 
effect  of  these  years  is  summarized  in  the  more  sophisticated,  although  less  personal,  work  he 
was  producing  by  1923.  Realizing  that  Cezanne  was  the  principal  source  for  those  develop- 
ments in  contemporary  painting  that  most  interested  him,  Xceron  had  consciously  studied  that 
master,  abandoning  both  the  primitive  charm  of  his  earlier  work  and  its  realistic  detail  in 
favor  of  a  concentration  on  formal  organization.  Yet  in  Landscape  No.  36,  1923,  there  is  an 
anticipation  of  what  would  become  one  of  the  most  important  characteristics  of  Xceron's 
mature  style:  a  diffused  light  radiating  from  the  roof  of  the  house,  thus  giving  the  little  paint- 
ing a  quality  of  buoyancy.  This  interest  in  light  was  then  secondary,  probably  unconscious, 
for  Xceron  had  set  out  to  compose  harmoniously,  without  regard  to  the  direction  of  light  or  the 
length  of  shadow,  certainly  without  regard  to  the  time  of  day  or  the  quality  of  subject  matter. 

By  the  time  he  had  saved  enough  money  to  go  to  Paris  in  1927,  Xceron  had  established 
an  accomplished  post-Cezannesque  style.  He  had  also  established  some  valuable  friendships, 
among  which  was  that  of  an  ex-Athenian  family,  the  Dorros',  who  controlled  a  flourishing 
bridal  veil  manufactory  with  offices  in  both  New  York  and  Paris.  Much  later  he  was  to  marry 
Mary  Dorros,  but  in  the  twenties  it  was  her  elder  brother,  Theodoros,  a  writer  and  intellectual, 
who  exerted  a  profound  influence  on  Xceron's  intellectual  development.  Having  commissioned 
a  portrait  of  Tolstoy  from  Xceron,  he  then  went  on  to  interest  the  artist  in  a  wide  literature. 
Because  of  his  encouragement,  and  with  the  help  of  introductions  from  Abraham  Rattner, 
Xceron,  who  had  been  painting  independently  for  more  than  ten  years,  found  the  confidence 
to  write  a  series  of  articles  for  the  Boston  Evening  Transcript  and  the  Paris  edition  of  the 
Chicago  Tribune.  He  thus  was  accepted  immediately  into  the  Paris  art  world,  not  yet  as  a 
painter— of  which  there  were  hundreds  from  all  parts  of  the  world,  but  as  an  American  critic 
highly  sympathetic  to  modern   art— of  whom  there  were  very   few.   He  wrote   articles  on 


Greek  pageant  in  Washington 


Torres-Garcia  portrait  of  Xceron 


14 

Mondrian,  Van  Doesburg,  Leger,  Arp  and  Larionov;  he  visited  studios,  discussed  painting  and. 
unknown  to  many  of  his  friends,  he  returned  to  his  own  studio  and  painted. 

Only  the  wise  and  sympathetic  Torres-Garcia  and  the  Dorros'  knew  that  Xceron  was  a 
painter,  but  gradually  certain  Greek  members  of  the  Paris  art  world,  the  writers  Christian 
Zervos  and  Teriade,  the  sculptor  Tombros,  not  only  discovered  that  Xceron  painted,  but  that 
in  his  modest,  quiet  fashion  he  painted  very  well.  His  first  one  man  exhibition  thus  opened  at 
the  Galerie  de  France  in  1931  under  the  sponsorship  of  the  influential  Cahiers  d'Art.  Xceron 
was  dazzled  by  the  procession  of  notables  who  trooped  through  the  gallery:  Mondrian.  Arp, 
Leger,  Van  Doesburg,  Masson,  Helion— almost  every  Paris  painter  of  consequence,  all  painters 
about  whom  Xceron  had  written  and  all  men  whose  work  he  had  profoundly  admired  for 
years— came  to  see  his  paintings  and  went  away  impressed. 

What  they  saw  was  a  group  of  post-cubist  canvases  tempered  by  a  very  personal 
lyricism.  Had  they  known  the  Xceron  who  struggled  between  1919  and  1929  to  master  the 
logical  construction  of  Cezanne,  they  would  have  remarked  the  greater  boldness  with  which 
he  applied  paint,  and  noted  how  curvilinear  forms  had  replaced  rectangular  ones.  It  was 
evident,  as  in  Violin  No.  7  that  his  still  life  subjects  were  wholly  and  deliberately  suggestive  of 
human  figures.  This  characteristic  of  imparting  markedly  human  associations  to  what  might 
at  first  seem  to  be  purely  investigative  exercises  in  the  organization  of  form  became  increas- 
ingly evident  as  Xceron's  work  developed.  It  appears  in  Portrait  of  the  Artist  No.  67,  1932, 
where  the  thrust  and  slight  forward  tilt  of  the  head  create  a  sense  of  great  alertness,  even 
though  there  is  no  expression  on  the  face.  It  is  also  apparent  that  the  head  is  an  analogy  to  the 
top  of  a  stringed  instrument. 

Xceron's  most  significant  painting  of  the  early  1930's  is  Violin  No.  6E.  As  James 
Mellow  noted,  this  is  a  transitional  work,  proceeding  from  curvilinear  forms  on  the  left,  where 
Picasso's  influence  is  most  apparent  in  the  figure  strumming  a  musical  instrument,  to  purely 
horizontal  and  vertical  divisions  on  the  right,  where  one  sees  reminiscences  of  both  early 
Mondrian  and  Torres-Garcia.1  The  painting,  however,  also  contains  an  intervening  stage  that 
is  an  important  key  to  Xceron's  future  work.  This  link  is  not  so  specifically  localized  as  an 
area  of  the  painting,  existing  rather  as  the  necessary  completion  of  an  idea.  The  middle  third 
of  the  picture  is  a  close  dissection  of  instrument  forms  themselves,  the  "S"  curved  sound 
openings,  the  strings  and  round  holes.  Thus,  the  final,  right  third  of  the  work,  where  light 
modelled  areas  exist  alone,  represents  pure  sound,  and  the  whole  painting  quite  literally 
develops  from  reality  to  pure  abstract  effect,  as  evident  in  the  iconography  as  in  the  regulari- 
zation  of  the  forms  from  left  to  right:  player,  instrument,  sound. 

All  of  Xceron's  paintings  from  1933  to  1936  strive  to  rid  themselves  of  the  last  traces 
of  figuration,  yet  equally,  they  are  all  about  music,  people  and  art.  His  forms  meet  with 
dignity,  they  never  collide,  never  passionately  embrace,  never  become  uncontrolled.  Through- 
out this  period,  he  favored  a  vertical  format,  and  gradually  reduced  textural  emphasis,  that 
density  of  pigment  which  had  been  so  considerable  during  the  previous  six  years.  Finally,  in 
1935-36  he  worked  almost  exclusively  in  watercolor  and  gouache,  for  Xceron  required  this 
discipline  to  concentrate  on  his  growing  interest  in  light.  This  light  came  from  no  outside 
source,  but  instead  radiated  from  the  colors,  clinging  to  the  edges  of  a  form  and  imparting  a 
certain  ethereal  quality. 

Returning  to  oil  in  1937,  Xceron  utilized  the  discipline  he  had  gained  from  experience 
with  gouache  to  produce  beautiful,  cool  and  transparent  harmonies.  He  had  developed  a 
modelling  or  chiaroscuro  that  refused  to  turn  or  round  the  form.  Unlike  Leger,  who  also  con- 
sistently modelled  simple  shapes  to  impart  weight,  density,  or  a  sense  of  volume,  Xceron's 
modelling  achieved  instead  a  palpable  atmosphere  around  clear  and  intense  forms,  concen- 
trating greatest  luminosity  toward  the  center  of  the  canvas  as  in  Composition  No.  242.  His 


1  Mellow,  James.  "Jean  Xceron  at  Seventy,"  Arts  Magazine,  New  York,  vol.  34,  no.  9,  June  1960,  pp.  30-33. 


15 

shading  was  always  from  top  to  bottom,  or  bottom  to  top,  never  from  left  to  right.  In  addition, 
although  he  used  bright  colors,  he  never  assaulted  the  eye.  Thus,  in  Painting  No.  239,  using  a 
white  ground  with  intense  colors,  he  modulates  violet  like  the  pressured  strokes  of  a  pen,  hard 
and  then  soft ;  he  plays  a  vivid  yellow  against  white  so  that  it  almost  flashes ;  but,  very  carefully, 
he  relieves  the  optical  pressure  with  a  narrow  dark  line  against  the  form,  and  a  nearby 
soothing  green. 

As  Xceron's  works  grew  in  confidence  and  delicacy,  attaining  by  1937-38  a  rare  tech- 
nical perfection,  they  gradually  lost  some  of  their  once-characteristic  innocent  gravity  to 
become  almost  playful.  Toward  1940-41  (Composition  No.  251),  forms  became  smaller  and  in- 
dividual arrangements  more  intricate ;  the  geometric  perfection  of  a  curve  or  an  ellipse  freely 
modified,  preparing  for  his  first  non-right-angled  orientations.  These  changes  are  evident  in 
the  small,  lyrical  Fragments  No.  252,  1941,  where  variations  in  background  intensity 
have  become  more  pronounced,  the  color  gathering  strength  as  it  adheres— almost  as  if 
magnetically  attracted— to  the  playful  forms  which  for  the  first  time  meet  in  a  series  of  oblique 
angles.  Instead  of  a  central,  radiating  luminosity,  a  quiet  and  subtle  movement  from  dark 
edges  to  a  light  core,  these  edges  fade  into  a  nimbus  of  softly  radiating  light.  In  Composition 
No.  269,  the  shadows  cluster  around  the  forms,  now  more  monumental  and  rugged.  At  the  very 
core,  an  apparently  solid,  unmodelled  shape  slips  quietly  into  the  background,  dematerializing 
into  a  magnificent  violet  glow.  Xceron  had  reversed  the  customary  function  of  light,  for  instead 
of  using  light  to  reveal  form,  he  arranged  to  have  it  swallow  shapes,  dissolving  the  crispest 
forms  in  the  process.  He  created  a  mysterious  dawn,  in  which  light  absorbs  rather  than  illumi- 
nates, his  pure  geometry. 

During  the  early  1940's,  Xceron  mastered  absolutely  quiet,  infinitely  subtle  transitions 
in  form,  using  color  areas  modelled  from  bright  to  dark,  but  without  ever  tilting  a  plane  or 
causing  an  indiscreet  jump  either  forward  or  backward.  His  surfaces  were  perfect  and  deli- 
cate, like  a  membrane  everywhere  equal.  In  1944,  however,  the  brush  stroke,  which  had  been 
banished  since  the  gouaches  of  1936.  suddenly  reappeared  in  White  Form  No.  271.  In  the 
Whitney  painting  (Composition  No.  273)  and  the  Miller  painting  (Composition  No.  275),  he 
began  to  work  out  the  implications  of  this  bolder  touch  which  eventually  would  distribute 
radiating  light  areas  against  radiating  dark  areas  to  yield  a  much  deeper  space.  In  the  Miller 
painting,  the  dark,  dynamic  cross-hatching  seems  to  emphasize  the  attraction  of  dark  for  light 
and  light  for  dark  and  these  two  forces  are  more  nearly  equal  than  they  had  been  in  the 
earlier,  more  tranquil  paintings. 

At  the  same  time,  Xceron's  color  grew  ever  more  bright  and  varied  and  his  forms  be- 
came more  intricate,  because  they  were  consistently  open.  From  1945  through  1948,  they  were 
enhanced  by  a  striking  use  of  black  line,  a  line  broken  and  roughed  by  impinging  color,  as 
if  white  light  could  be  sucked  out  of  the  multicolored  void  by  these  sensitive  antennae  (as  in 
Multiform  No.  303,  1947,  or  Rhythm  No.  301).  This  was  the  period  of  Xceron's  widely  pub- 
licized painting  Radar.2 

Over  the  years,  Xceron's  art  found  increasing  recognition.  By  the  mid-1930's  he  was— 
to  his  surprise— a  painter  of  reputation,  one  of  the  inner  circle  associated  with  Circle  et  Carre, 
Abstraction-Creation,  and  the  Surindependants.  When  he  came  back  to  America  for  his  first 
New  York  show  at  the  Garland  Gallery  in  1935,  he  became  friendly  with  two  of  the  most 
perceptive  Americans  then  interested  in  abstract  art:  James  Johnson  Sweeney  and  David 
Smith.  Smith  asked  his  advice  and  received  counsel  to  become  a  sculptor.  (Very  good  advice, 
it  turned  out.)  Sweeney  was  instrumental  in  obtaining  his  second  United  States  exhibition,  at 
the  Nierendorf  Gallery,  and  for  this  Xceron  again  returned  to  America  late  in  1937.  He  never 
went  back  to  Europe.  At  the  Nierendorf.  Hilla  von  Rebay  saw  his  work  and  acquired  examples 
for  the  Guggenheim  Foundation,  thus  inaugurating  a  long  association. 


Radar,  commissioned  by  Alfred  H.  Holbrook  is  in  the  collection  of  the  Georgia  Museum  of  Art,  Uni- 
versity of  Georgia.  It  was  reproduced  in  Life,  New  York,  vol.  24,  no.  5,  February  2,  1948,  p.  69.  Accom- 
panying the  story,  "Radar;  A  Non-Objective  painter  tries  to  marry  science  and  art  on  canvas." 


16 

The  American  Abstract  Artists,  then  barely  organized,  welcomed  him  with  open  arms 
for,  in  those  days  before  the  arrival  of  the  great  wave  of  exiled  Europeans,  he  was  one  of  the 
very  few  abstract  artists  who  had  acquired  an  international  reputation.  He  had  already  sur- 
mounted some  of  the  barriers  that  this  handful  of  American  abstract  painters  faced:  public 
indifference  and  official  hostility;  his  was  a  modest  success  that  could  help  counter  the  deeply 
rooted  provincialism  of  the  American  art  world.  Commercially,  Xceron  fared  only  a  little 
better  than  his  new  colleagues,  but  he  did  symbolize  the  achievement  of  Parisian  abstraction, 
and,  for  years  (well  through  the  1940's,  when  American  exhibitions  were  almost  entirely 
dominated  by  regional  and  social  realist  art)  Xceron  was  one  of  the  very  few  abstract  artists 
admitted  into  the  large  national  competitions,  standing  out  like  a  rare  curiosity  in  almost  every 
Pittsburgh  survey,  and  somehow  convincing  even  the  most  conservative  juries  of  his  honesty 
and  skill  as  a  painter.  While  working  on  the  Federal  Arts  Project,  he  continued  to  execute 
resolutely  non-objective  murals,  a  style  almost  totally  alien  to  the  typically  social  realist 
W.P.A.  art,  even  in  the  chapel  at  Riker's  Island  Penitentiary.  One  wonders  what  the  inmates 
thought ! 

No  fanfare  ever  surrounded  Xceron  or  his  work.  Temperamentally  incapable  of  sensa- 
tional behavior  or  active  group  participation,  he  could  only  continue  to  paint,  even  when  the 
sudden  explosion  of  a  new  kind  of  American  abstract  art  began  to  command  universal  atten- 
tion in  the  late  1940's  and  early  1950's.  In  Paris,  he  had  been  briefly  part  of  an  international 
abstract  movement;  in  the  New  York  of  the  1950's.  he  was  already  respectfully  identified  with 
the  past,  and  gravitated  back  to  the  Greek  community,  where  he  felt  most  at  home.  This 
American-Greek  community  has  yielded  other  important  artists:  Vagis,  Nikolaides,  Kaldis, 
Constant,  Stamos,  Baziotes,  and  more  recently  Voulkos  and  Lekakis— all  Greeks,  all  of  differ- 
ent times  and  temperaments.  Xceron,  however,  was  among  the  first,  and  Xceron,  for  fifty  years 
has  been  among  the  most  constant  and  diligent  in  his  single-minded,  unswerving  pursuit  of  a 
quiet  ideal.  Other  Greek-American  artists  moved  more  freely  in  the  world  of  American  art  at 
large,  became  more  American,  identified  with  a  prevailing  style— much  as  Xceron  (considered 
an  International)  had  done  during  his  ten  years  in  Paris.  Thus,  the  New  York  abstract  move- 
ment swept  past  him  to  general  acclaim,  and  Xceron,  who  had  been  one  of  the  few  exhibitors 
of  geometric  abstract  painting  in  the  1930's  and  1940's,  still  remained  virtually  alone  during 
the  1950's:  one  of  the  few  "classic"  abstract  painters.  Today,  in  the  mid-1960's,  with  yet 
another  fresh  wave  of  American  painting  dominating  the  catalogues  of  large  group  shows, 
Xceron's  independence  and  individuality  has  become  even  more  compelling,  for  he  continues 
to  develop  and  expand  his  art,  even  though  its  principles  had  been  established  in  1936-37. 
Now,  there  is  no  background  of  a  current  period  style  to  submerge  his  great  ease  and  quiet 
perfection,  his  quality  as  an  independent  artistic  personality. 

To  the  attentive  observer,  Image  No.  330, 1949,  will  seem  as  much  an  anomaly  as  the  first 
brushed  paintings  of  1944-45.  In  many  respects  it  represents  a  return  to  themes  from  the  early 
1930's,  although  it  is  more  subtle  and  complex  in  its  allusions  to  figures  and  musical  instru- 
ments and  more  resolutely  cubist  in  its  spatial  organization,  as  if  Xceron  consciously  grasped 
for  his  tradition  to  help  sustain  himself  in  the  flood  of  Abstract  Expressionism.  It  is  also  the 
first  painting  in  thirteen  years  not  chiefly  concerned  with  light,  and  as  such  is  a  preparation 
for  Xceron's  next  crystallized  interest,  the  figure.  He  must  have  felt  that  his  paintings  had 
become  too  diaphanous,  too  soft,  too  light-enveloped,  and  therefore  made  an  effort  to  tighten 
his  forms,  to  create  a  more  aggressive  image  with  crisper  internal  movement.  Painting  No. 
239  and  Sound  No.  291  share  qualities  of  hardness  and  softness;  Beyond  White  distills  crisp- 
ness  of  movement,  but  sheds  rough  black  line.  Finally,  by  1954  with  Ikon  No.  386  and  large 
delicate  watercolors  like  Figure  No.  389 A,  1955.  a  clear-cut  single  image  emerges,  a  strong 
white  megalith  on  a  deep  blue  ground. 

Painting  9,  No.  424,  1958.  was  the  first  Xceron  since  1932-33  in  the  horizontal 
format.  Although  it  employed  the  sharper  forms  that  culminated  with  Ikon,  the  nature  of 
the  shapes  underwent  still  further  metamorphosis.  There  are  no  longer  rectangles,  circles, 
ovals,  but  more  organic,  suggestive  images.  The  organization  now  recalls  a  landscape,  with  a 


17 


deliberate,  slow  movement  from  left  to  right,  a  glow  of  twilight  against  which  are  set  rock-like 
shapes.  On  the  right,  a  large  white  area  hangs  over  a  blue,  reminiscent  of  a  gleaming  temple 
overlooking  a  precipice.  This  balance  contributes  a  certain  minimal  anxiety,  the  level  that 
Xceron  tolerates;  we  know  the  white  will  not  really  topple,  because  it  is  so  firmly  balanced 
against  the  glowing  light  passage  across  the  bottom  of  the  painting. 

Through  the  next  years  and  up  to  the  present,  movement  in  Xceron's  paintings  con- 
tinued to  become  more  active,  the  colors  growing  stronger  and,  above  all,  the  pulsation  of 
light  more  prominent.  References  to  figures  and  fragments  of  landscape  become  constant  and 
more  complete.  Painting  No.  426,  1959,  and  Painting  No.  430,  1960,  are,  for  Xceron,  almost 
violent  paintings.  In  the  latter,  angles  clash  in  from  all  four  corners  and  the  figure  forms- 
head,  neck,  breasts— are  splayed  out  again  in  a  landscape  space.  Composition  8,  No.  432,  1960, 
is  one  of  the  boldest  and  most  daring  arrangements  Xceron  ever  produced,  with  areas  of 
intense  swirling  whites  punctuated  by  incisive  black  arabesques  that  almost  swamp  the  figure 
forms  in  the  lower  right.  The  figures,  however,  were  determined  (almost  as  if  they  had  a  will 
of  their  own)  to  emerge.  Finally,  in  1961  Xceron  painted  a  white  canvas  black,  and  drew  a 
frieze  of  almost  barbaric,  primitive  forms  across  it,  these  illuminated  by  yellow-green  light, 
with  the  light  cohering  as  before  to  the  edges  of  the  forms.  Although  reminiscent  of  Classical 
black  ground  vase  painting,  this  1961  picture  also  sustains  a  blood  red  at  the  bottom,  and  a 
streak  of  deep  blue  behind.  It  has  the  quality  of  a  ritual  dance.  In  Source  No.  445,  1962,  the 
same  method  allows  forms  of  violet  and  lurid  yellow  to  grapple  together  like  two  archaic 
monsters  in  a  field  of  bones  and  shattered  trees.  These  shapes  avoid  collision.  From  an  artist 
now  over  seventy,  these  works  are  the  darkest  and  most  romantic  of  his  lifetime ;  they  include 
the  El  Greco-like  Painting  7,  No.  438,  1961.  whose  twisting  forms  lean  in  from  dense  space 
but,  as  always,  never  become  uncontrolled. 

As  brooding  and  near-violent  as  the  large  oils  became  through  1962,  Xceron's  drawings 
and  watercolors  pursued  a  more  placid  course.  In  theme,  the  barbaric  and  active  figures  that 
appear  in  the  paintings  present  a  sunnier,  if  no  less  primitive,  mood.  Pageant  No.  558A,  a 
drawing  in  the  Walter  collection,  is  exquisitely  organized  and  possesses  all  the  spirit  of  a 
group  of  centaurs  at  play.  Finally,  in  the  oils  from  1963  to  the  present,  all  the  figures  clearly 
emerge— graceful,  active,  almost  with  facial  expressions,  always  alert— playing  against  a 
sensuous  clear  blue  which  clings  materially  to  the  purity  of  their  forms.  These  works, 
Caryatides  27,  No.  452  and  Figures  24,  No.  449,  1963,  were  painted  out-of-doors  on  clear  and 
sunny  afternoons.  Xceron,  75  years  old,  seems  to  have  returned  to  the  Arcadia  he  had  not 
seen  since  1904,  but  his  Greece  was  still  not  the  Greece  of  plaster  casts. 

In  these  years  of  old  age,  a  whole  painting  career  intervening  and  a  wide  culture  at- 
tained, specific  memories  that  had  meant  little  or  nothing  when  he  first  came  to  the  United 
States  begin  to  return:  mountain-locked  Isari  Likosouras,  his  native  village,  was  always 
flooded  with  light  and  to  the  south,  the  gulf  of  Messinia  sparkled  thirty  or  more  miles  away; 
the  site  of  Lykosuras  with  its  ruined  city  on  an  acropolis;  the  sanctuary  of  Despoina,  its 
ruined  Doric  temple.  These  distant,  but  now  meaningful  images  influence  the  imagination  of 
Xceron,  the  still  classic  abstractionist,  but  also  the  Greek  who  wandered  there,  unthinking,  as 
a  youth.  He  can  draw  the  temple  now;  sixty  years  ago  it  was  merely  a  familiar  heap  of  stone 
on  the  outskirts  of  his  village. 

Xceron's  art  has  always  been  so  gentle,  its  drama  internal  and  apparent  only  to  those 
who  follow  it  attentively.  Instinctive,  almost  humble,  it  attains  a  rare  poetry  that  too  few  have 
taken  the  trouble  to  contemplate.  David  Smith,  who  was  as  American  as  Xceron  is  Greek,  and 
knew  of  the  world  as  Xceron  does  not,  once  wrote  to  his  painter  friend  "...You  have  the  pic- 
tures and  that  is  not  new— you  have  always  made  them,  and  maybe  they  are  too  good,  too  subtle, 
too  sensitive;  but  someday  the  world  will  catch  up  with  you.  Most  artists  are  with  you  and 
that  is  the  greatest  level  of  appreciation  . .  ."3 


letter  from  David  Smith  to  Xceron,  April  22,  1957. 


18 


WORKS  I.\  THE  E\HIBITIO\ 


1.  CRUCIFIXION  NO.  6. 1917. 
Oil  on  canvas.  11%  x  9". 
Lent  by  the  artist. 

2.  ADAM  AND  EVE  NO.  9.  1919. 
Oil  on  canvas,  9%  x  7%". 
Lent  by  the  artist. 

3.  LANDSCAPE  NO.  36. 1923. 
Gouache  on  board.  15%  x  19". 
Lent  by  the  artist. 

4.  CHARTRES  NO.  Al.  1929. 
Watercolor,  18  x  24". 

Lent  by  the  artist. 

5.  VIOLIN  NO.  7.  Paris.  1931. 
Oil  on  canvas,  27%  x  22%". 

Lent  by  Mary  Dorros  Xceron,  New  York. 

6.  PORTRAIT  OF  THE  ARTIST  NO.  67.  Paris.  1932. 
Oil  on  board,  16  x  13". 

Lent  by  Mary  Dorros  Xceron,  New  York. 

7.  VIOLIN  NO.  6E.  1932.  _ 
Oil  on  canvas,  25%  x  31%". 
Lent  by  the  artist. 

8.  PAINTING  NO.  70. 1933. 
Oil  on  canvas,  16  x  13%". 

Lent  by  Mary  Dorros  Xceron,  New  York. 

9.  DRAWING.  1935. 
Ink.  5%  x  9%". 

Collection  Rose  Fried,  New  York. 

10.  COMPOSITION  NO.  220A.  1936. 
Gouache,  30x21%". 

Lent  by  the  artist. 

11.  PAINTING  NO.  219. 1936. 
Oil  on  canvas,  18%  x  15". 

Lent  by  Mary  Dorros  Xceron,  New  York. 

12.  COMPOSITION  NO.  242. 1937. 
Oil  on  canvas,  45%  x  31%". 

Collection  The  Solomon  R.  Guggenheim  Museum. 
New  York. 

13.  PAINTING  NO.  211.  1937. 
Oil  on  canvas,  25%  x  21%". 

Collection  Mr.  and  Mrs.  Edgar  B.  Miller,  Chicago. 

14.  PAINTING  NO.  239. 1938. 
Oil  on  canvas,  58  x  38%". 
Lent  by  the  artist. 

15.  SERIES  OF  FOURTEEN  STUDIES 
FOR  PAINTINGS  NO.  259B.  1939. 
Watercolor  and  ink.  11  x  16%". 

Lent  by  the  artist. 


16.  COMPOSITION  NO.  250.  1941. 
Oil  on  board,  21%  x  19%". 

The  Joseph  H.  Hirshhorn  Collection,  New  York. 

17.  COMPOSITION  NO.  251.  1941. 
Oil  on  canvas,  40  x  30%". 

Collection  The  Solomon  R.  Guggenheim  Museum. 
New  ^  ork. 

18.  FRAGMENTS  NO.  252. 1941. 
Oil  on  canvas,  26  x  20". 

Lent  by  the  artist. 

19.  WHITE  AND  GRAY  NO.  256. 1941. 
Oil  on  canvas,  30%  x  20%". 

Collection  Mr.  and  Mrs.  Fred  Olsen  through 
The  Olsen  Foundation.  Guilford,  Connecticut. 

20.  PAINTING  NO.  260. 1942. 
Oil  on  board,  19  x  19". 
Lent  by  the  artist. 

21.  COMPOSITION  NO.  261A.  1943. 
Oil  on  canvas,  40  x  30". 

Collection  Miss  Hilla  von  Rebay.  Greens  Farms. 
Connecticut. 

22.  DRAWING  AND  WATERCOLOR  NO.  263A.  1943. 
Watercolor  and  ink,  8  %  x  11". 

Lent  by  the  artist. 

23.  DRAWING  NO.  251A.  1944. 
Ink,  19  x  12%". 

Lent  by  the  artist. 

24.  COMPOSITION  NO.  269.  1944. 
Oil  on  canvas,  51  x  45". 

Collection  The  Solomon  R.  Guggenheim  Museum. 
New  It  ork. 

25.  WHITE  FORM  NO.  271. 1944. 
Oil  on  canvas,  36  x  30". 

Collection  The  Solomon  R.  Guggenheim  Museum. 
New  York. 

26.  COMPOSITION  NO.  257.  1945. 
Oil  on  canvas,  19%  x  15%". 

Collection  The  Solomon  R.  Guggenheim  Museum, 
New  York. 

27.  COMPOSITION  NO.  273.  1945. 
Oil  on  canvas,  40  x  32". 

Collection  Whitney  Museum  of  American  Art, 
New  York.  Gift  of  the  Friends  of  the  Whitney  Museum. 

28.  COMPOSITION  NO.  275.  1945. 
Oil  on  canvas,  32  x  40". 

Collection  Mr.  and  Mrs.  Edgar  B.  Miller.  Chicago. 

29.  PAINTING  NO.  293.  1946. 
Oil  on  canvas,  40  x  32". 

Collection  The  Solomon  R.  Guggenheim  Museum, 
New  York. 


19 


30.  COMPOSITION  NO.  325. 1947. 
Watercolor,  13  x  lOVfe". 

Collection  Mr.  and  Mrs.  Saul  Edelbaum,  New  York. 

31.  MULTIFORM  NO.  303.  1947. 
Oil  on  canvas,  50  x  40". 

Collection  The  Solomon  R.  Guggenheim  Museum, 
New  York. 

32.  RHYTHM  NO.  301. 1947. 
Oil  on  canvas,  51  x  42". 

Collection  The  Solomon  R.  Guggenheim  Museum, 
New  York. 

33.  COMPOSITION  NO.  319.  1948. 
Oil  on  canvas,  42  x  34". 

Collection  The  Solomon  R.  Guggenheim  Museum, 
New  York. 

34.  IMAGE  NO.  330. 1949. 
Oil  on  canvas,  51  x  42". 
Lent  by  the  artist. 

35.  SOUND  NO.  291.  1949. 
Oil  on  canvas,  51  x  42". 

Collection  Mr.  and  Mrs.  Edgar  B.  Miller,  Chicago. 

36.  VARIATIONS  NO.  329. 1949. 
Oil  on  canvas,  50  x  42". 

Mr.  and  Mrs.  Walter  Nelson  Pharr,  New  York. 

37.  BEYOND  WHITE.  1950. 
Oil  on  canvas,  50%  x  40  Vs". 
Collection  Krannert  Art  Museum. 
University  of  Illinois,  Champaign. 


44.  CIRCLE  NO.  515A.  1960. 
Watercolor,  8%  x  11  Vz" . 

Collection  Mr.  and  Mrs.  George  Phillips,  Jr.,  Chicago. 

45.  COMPOSITION  8,  NO.  432. 1960. 
Oil  on  canvas,  70  x  42". 

Lent  by  Rose  Fried  Gallery,  New  York. 

46.  PAINTING  NO.  430.  1960. 
Oil  on  canvas,  40  x  51". 

Lent  by  Rose  Fried  Gallery,  New  York. 

47.  PAINTING  7,  NO.  438. 1961. 
Oil  on  canvas,  70  x  41". 

Lent  by  Rose  Fried  Gallery,  New  York. 

48.  PAINTING  9,  NO.  435. 1961. 
Oil  on  canvas,  36  x  48" 

Lent  by  Mary  Dorros  Xceron,  New  York. 

49.  PAINTING  11,  NO.  436. 1961. 
Oil  on  canvas,  33  x  45". 
Private  Collection,  New  York. 

50.  DRAWING  NO.  3.  1962. 
Ink,  11  x  8%". 

Lent  by  the  artist. 

51.  LANDSCAPE  NO.  38.  1962. 
Watercolor,  12  x  17  W. 
Lent  by  the  artist. 

52.  PAGEANT  NO.  558A.  1962. 
Watercolor,  22  x  31". 

Collection  Miss  May  Walter,  New  York. 


38.  TWO  CIRCLES  NO.  338.  1951. 
Gouache,  22%  x  15". 
Collection  Mr.  and  Mrs.  Norman  Belgrade,  Chicago. 


53.  SOURCE  NO.  445. 1962. 
Oil  on  canvas,  33  x  27". 
Lent  by  the  artist. 


39.  PAINTING  NO.  341A.  1951. 
Oil  on  canvas.  30  x  24". 

Collection  Denis  E.  Paddock,  New  York. 

40.  IKON  NO.  386. 1954. 

Oil  on  canvas,  34%  x  227/s". 

Collection  The  Solomon  R.  Guggenheim  Museum, 

New  York. 


54.  U  FORM  NO.  553A.  1962. 
Watercolor,  31  x  22". 

Collection  Lawrence  Bloedel,  Williamstown, 
Massachusetts. 

55.  CARYATIDES  27,  NO.  452.  1963. 
Oil  on  canvas,  40  x  51". 

Lent  by  the  artist. 


41.  FIGURE  NO.  389A.  1955. 
Watercolor,  30%  x  221A'\ 
Lent  by  the  artist. 


56.  FIGURES  24,  NO.  449.  1963. 
Oil  on  canvas,  40  x  50". 
Lent  by  the  artist. 


42.  PAINTING  9,  NO.  424.  1958. 
Oil  on  canvas,  42  x  70". 
Lent  by  the  artist. 

43.  PAINTING  NO.  426. 1959. 
Oil  on  canvas,  37  x  48". 

Lent  by  Rose  Fried  Gallery,  New  York. 


57.  SOUND  21,  NO.  446.  1963. 
Oil  on  canvas,  23  x  27". 
Lent  by  the  artist. 

58.  MORPHES  NO.  457. 1964. 
Oil  on  canvas,  40  x  51". 
Lent  by  the  artist. 


12 


13 


DO 

\c 

17 


-WttSUi 

-.'■■  :■:■:■■■■■-■' 

/•,•'.-..••       ■:■'■■■■■■:■ 


ttHPBBll 

vvtKS-n 


■,;;..-■■ 
■■'/'■    ;: 


14 


16 


18 


19 


21 


24 


25 


26 


28 


31 


33 


36 


35 


34 


at 


40 


41 


/ 

t 

1 

f       1 

42 


43 


46 


45 


47 


43 


53 


49 


50 


52 


55 


SELECTED  BIBLIOGRAPHY  \ V 1)  EXHIBITION  LIST 


WRITINGS   BY   XCEROX 


Chicago  Tribune,  Paris,  p.  4:  "J.  Torres-Garcia",  April  6, 1929. 

"Van  Doesburg",  April  28, 1929.  "Jean  Helion",  June  5,  1929. 

"Tal-Coat",  June  15, 1929.  "Otto  Van  Rees",  June  23,  1929. 

"Emile  Rozier",  June  29,  1929.  "Georges  Vantongerloo",  July  5,  1929. 

"Hans  Arp",  July  20, 1929.  "John  D.  Graham",  July  24,  1929. 

"V  de  Rego  Monteiro",  July  27,  1929.  "Mme.  Tauber  Arp",  August  7,  1929. 

"Piet  Mondrian",  August  12,  1929.  "J.  A.  Czaky",  September  19, 1929. 

"E.  Teriade",  October  8, 1929.  "Leopold  Zborowsky",  October  26, 1929. 

"Maurice  Raynal",  October  31,  1929.  "Adolphe  Basler",  December  5,  1929. 

"Creixams",  December  8,  1929.  "Chil  Aronson",  December  22,  1929. 

"Max  Berger",  December  26,  1929.  "Andre  Salmon",  January  2,  1930. 

"Natalie  Gontcharova",  March  17,  1930.  "Waldemar  George",  April  12,  1930. 

"Andre  Beaudin",  July  2,  1930.  "Menkes",  July  25,  1930. 

"H.  Berlewi",  July  26,  1930.  "Christian  Zervos",  August  27,  1930. 

"Michel  Larionow",  September  8, 1930.  "Fernand  Leger",  November  30,  1930. 

Boston  Transcript,  Boston:  "Contemporary  Sculpture  in  Italian  Art",  January  18,  1930. 

"Independants  Fill  the  Grand  Palais",  February  15,  1930,  p.  8. 

"Contemporary  Decoration  at  the  Musee  des  Arts  Decoratifs",  April  18.  1930,  p.  7. 

"Societe  des  Artistes  Francais",  May  28.  1930. 

"Artists  and  Fine  Art  Exhibitions",  June  25, 1930,  p.  12. 

"Exhibition  Salon  des  Tuileries",  August  23, 1930,  p.  8. 

Statement,  Cercle  et  Carre,  Paris,  no.  2,  April  15.  1930,  n.p. 

"Neo-Plasticisme  or  Elementarist  Art",  The  New  Review,  Paris,  vol.  1,  no.  4, 
Winter  1931-32,  pp.  316-319. 

Comment,  Radio  Magazine,  New  York,  January  1952,  p.  3. 

"Portrait  of  Dr.  Demetrios  Callimachos"  and  "Portrait  of  Nicolas  G.  Lely". 
Athene,  Chicago,  vol.  15,  no.  3.  Autumn  1954,  pp.  13,  16. 


I  M»l  Itl.lMlllt     >I\MM  IS 


"Radar",  1948. 

"Notes  on  My  Painting",  February  1952. 


ARTICLES   ON  XCERON 


53 


politis,  Michael.  "0  Jean  Xceron  Ke  Ei  Apoliti  Techni", 
Neoelinka  Gramata,  Athens,  July  15,  1939. 
sivilla.  "Ei  Techni  Too  Jean  Xceron",  Atlantis,  New  York, 
June  20,  1947. 

cianakoulis,  Theodore.  "Contributors  to  American  Cul- 
ture: Jean  Xceron",  Athene,  Chicago,  vol.  8,  no.  3.  Autumn 
1947,  pp.  14-16. 

"Radar:  A  Non-Objective  painter  tries  to  marry  science 
and  art  on  canvas",  Life,  New  York,  vol.  24,  no.  5,  Febru- 
ary 2, 1948,  p.  69. 

argyris,  vasos.  "Jean  Xceron",  The  National  Herald,  New 
York,  November  27,  1948.  Appeared  in  Greek  in  Vima 
Gapa,  Pittsburgh,  vol.  14,  no.  5,  August-September  1949, 
pp.  9-20. 

visvardis,  JOHN.  "Around  our  Painters:  Jean  Xceron", 
Eptanisos,  New  York,  vol.  2,  no.  6,  September  1950,  p.  3. 
procopiou,  A.  G.  "Ei  Techni  Too  Jean  Xceron",  Kathime- 
rini,  Athens,  September  29,  1953.  English  translation,  "The 
Art  of  Jean  Xceron",  The  National  Herald,  New  York, 
June  17, 1954. 

kasak,  n.  "Jean  Xceron",  Numero,  Florence,  vol.  5,  no.  6, 
November-December  1953,  p.  20. 

ashton,  dore.  "Jean  Xceron",  XXe  Steele,  Paris,  vol.  23, 
no.  16,  May  1961,  section  Chroniques  da  Jour,  n.p. 
granitsas,  spyridon.  "Xceron",  Eikones,  Athens,  vol.  2, 
no.  380,  February  4,  1963,  pp.  34-35.  English  translation, 
Art  Voices,  New  York,  vol.  2,  no.  3,  March  1963,  p.  11.  Also 
appeared  in  The  National  Herald,  New  York,  April  14, 1963. 


bethers,  ray.  How  Paintings  Happen,  New  York,  W.  W. 
Norton  &  Co.,  1951,  p.  143. 

gomez-sicre,  jose.  Guia  de  las  Colecciones  Publicas  de 
Arte  en  los  Estados  Unidos,  Washington,  D.C.,  Union  Pan 
Americana,  1951,  vol.  1,  p.  138. 

Phillips,  duncan.  The  Phillips  Collection  Catalogue,  Wash- 
ington, D.C.,  The  Phillips  Collection,  1952,  p.  139. 
lebel,  Robert,  ed.  Premier  Bilan  de  V Art  Actuel,  1937- 
1953,  Paris,  Cahiers  Trimestriels,  1953,  p.  22. 
bene'zit,  e.  Dictionnaire  Critique  et  Documentaire  des  Pein- 
tres,  Sculpteurs,  Dessinateurs  et  Graveurs,  Paris,  Librairie 
Grund,  1955,  vol.  8,  p.  819. 

pousette-dart,  Nathaniel,  ed.  American  Painting  Today, 
New  York,  Hastings  House,  1956,  ill.  p.  93. 
seuphor,  michel.  Piet  Mondrian,  New  York,  Harry  N. 
Abrams,  1956,  pp.  174,  190. 

The  World  of  Abstract  Art,  New  York,  George  Wittenborn, 
Inc.,  1957,  pp.  105,  140,  160,  ill.  pp.  42,  145.  Edited  by  the 
American  Abstract  Artists. 

seuphor,  michel.  Dictionary  of  Abstract  Painting,  New 
York,  Tudor  Publishing  Co.,  1957,  p.  292. 
A  Handbook  to   The  Solomon  R.  Guggenheim   Museum 
Collection,  New  York,  The  Solomon  R.  Guggenheim  Mu- 
seum, 1959,  p.  178. 

procopiou,  angelo.  Esthitiki  Ke  Techni  Stin  Ameriki, 
Athens,  Nees  Morphes,  1961,  pp.  119,  120,  pi.  30. 


BOOKS 


MISCELLANEOUS 


aronson,  chil.  Artistes  Americaines  Modernes  de  Paris, 
Paris,  Editions  Le  Triangle,  1932,  p.  18,  ill.  pp.  128,  129. 
edouard-joseph,  rene.  Dictionnaire  Biographique  des  Ar- 
tistes Contemporains,  Paris,  Librarie  Grund,  1934,  vol.  3, 
p.  443. 

felshin,  max.  Leaves  of  Life,  New  York,  The  Book  Guild, 
1936,  p.  19.  Poem  entitled  Xceron. 

graham,  john  d.  Systems  and  Dialectics  of  Art,  New  York, 
Delphic  Studios,  1937,  p.  153. 

bear,  donald  j.  American  Art  Today,  New  York,  National 
Art  Society,  1939,  pp.  22-23. 

A.  E.  Gallatin  Collection,  New  York,  Museum  of  Living- 
Art,  New  York  University,  1940.  "Notes  on  Artists"  by 
George  L.  K.  Morris,  p.  153. 

barr,  Alfred  h.  Painting  and  Sculpture  in  The  Museum 
of  Modern  Art,  New  York,  The  Museum  of  Modern  Art, 
1942,  pp.  12,  14,  80. 

kootz,  samuel  m.  New  Frontiers  in  American  Painting, 
New  York,  Hastings  House,  1943,  pp.  52,  65,  pi.  89. 
American  Abstract  Artists,  New  York,  The  Ram  Press, 
1946.  Introduction  by  George  L.  K.  Morris,  ill.,  n.p. 
thieme.  ulrich  and  becker,  felix.  Allgemeines  Lexikon 
der  bildenden  Kiinstler,  Leipzig,  Seeman  Verlag,  1947, 
vol.  36,  p.  342. 

read,  Herbert.  Art  Now,  London,  Faber  &  Faber,  1948, 
pi.  46. 

meyers,  Bernard  s.  Modern  Art  in  the  Making,  New  York, 
McGraw  Hill,  1950,  p.  395. 


"Under  Museum  Banners",  The  New  York  Times,  New 
York,  December  26,  1937.  On  the  permanent  collection  at 
the  Museum  of  Living  Art,  New  York  University. 
sweeney,  james  johnson.  "L'Art  Contemporain  aux 
Etats-Unis",  Cahiers  d'Art,  Paris,  vol.  13,  nos.  1-2.  1938, 
pp.  43-52. 

michalaros,  demetrios,  a.  "Contemporary  Greek  Art", 
Athene,  Chicago,  vol.  2,  no.  12,  December  1941,  p.  22. 
"The  Holbrook  Collection",  Georgia  Cracker,  Athens,  Uni- 
versity of  Georgia,  vol.  1,  no.  4,  January  1947,  p.  15. 
"Exposition   des   Peintres  Americains  a   Paris",   Cahiers 
d'Art,  Paris,  vol.  22,  1947,  p.  330,  ill.,  p.  326. 
"Five  Greek-American  Painters",  Athene,  Chicago,  vol.  11, 
no.  2,  September  1950,  pp.  16,  21. 

seuphor,  michel.  "Paris-New  York  1951",  Art  d'Au- 
jourd'hui,  Paris,  vol.  2,  no.  6,  June  1951,  pp.  2,  10,  11. 
flexor,   sanson.  "Quatro  Pintores  Abstractos   de  Nova 
Iorque",  Habitat,  Sao  Paulo,  vol.  7,  no.  42,  May-June  1957, 
pp.  30-31. 

h[ess],  t[homas]  b.  "Editorial:  Innocents  to  Brussels", 
Art  News,  New  York,  vol.  57,  no.  1,  March  1958,  p.  23. 
tillim,  Sidney.  "What  Happened  to  Geometry?",  Arts, 
New  York,  vol.  33,  no.  9,  June  1959,  p.  40. 
smith,  david.  "Notes  on  My  Work",  Arts,  New  York,  vol. 
34,  no.  5,  February  1960,  p.  44. 

brown,  Gordon.  "International  Art  Trends,  U.S.A.:  the 
Purists",  Art  Voices,  New  York,  vol.  2,  no.  5,  May  1963, 
p.  18. 


ONE  MAN  EXHIBITIONS 


54 


Xceron,  Galerie  de  France,  Paris,  December  1-18,  1931. 
Reviews:  A.  w.  Comoedia,  Paris,  December  2,  1931. 

r[aynal],  m[aurice].  "On  Expose:  Oeuvres  de 
Xceron",  L'lntransigeant,  Paris,  December  6, 
1931. 

"Works  of  Greco-American  Painter  being  shown 
at  Galerie  de  France",  Chicago  Tribune,  Paris, 
December  6,  1931. 

clar,  fanny.  "Les  Arts:  Art  Hermetique  ou  le 
casse-tete  pictural".  Le  Soir,  Paris,  December 
10, 1931. 

"Art  Notes",  The  New  York  Herald,  Paris.  De- 
cember 14,  1931. 

salmon,  andre'.  "Que  pense-t-il  de  l'exposition 
Xceron",  Gringoire,  Paris,  December  25,  1931. 
heilmaier,  h.  "Galerie  de  France:  Xceron", 
Neue  Pariser  Zeitung,  Neuilly,  December  26. 
1931. 

zervos,  christian.  "Les  Exposition  a  Paris  et 
Ailleurs:    Xceron.    Peintures",    Cahiers    d'Art, 
Paris,  vol.  6,  nos.  9-10,  1931,  p.  451. 
fierens,  PAUL.  Le  Journal  de  Debats.  Paris.  Feb- 
ruary 21,  1932. 

Xceron,  Galerie  Percier,  Paris,  May  11-25,  1933. 

Reviews:  t[e'riade],  e.  "On  Expose:  Exposition  Xceron", 
L'lntransigeant,  Paris,  May  15,  1933. 
"Xceron's  Exhibit  is  held  over  at  Galerie  Per- 
cier", Chicago   Tribune,   Paris,   May   18,   1933. 
p.  14. 

"De  la  Peinture  Pure",  Cri  de  Paris,  Paris,  May 
20,  1933. 

zervos,  christian.  "Les  Expositions  a  Paris  et 
Ailleurs:  Xceron",  Cahiers  d'Art,  Paris,  vol.  8, 
nos.  5-6,  1933,  pp.  250-251. 

Xceron,  Galerie  Pierre,  Paris,  July  2-10,  1934. 

Reviews:  "Works  of  Xceron  Reveal  Enthusiast  of  Pure 
Design",  Chicago  Tribune,  Paris,  July  4,  1934. 
devau,  charles.  "Xceron",  Beaux-Arts,  Paris, 
no.  79,  July  27,  1934. 

La  Semaine  de  Paris,  Paris,  July  13-19,  1934. 
salmon,  andre.  "Les  Arts",  Gringoire,  Paris, 
July  27,  1934. 

fierens,  paul.  Journal  des  Debats,  July  22, 1934. 
zervos,  christian.  "Les  Expositions  a  Paris  et 
Ailleurs:  Xceron",  Cahiers  d'Art,  Paris,  vol.  9, 
nos.  5-8,  1934,  p.  205. 

Xceron,  Garland  Gallery,  New  York,  March  22-May  1, 1935. 

Reviews:  burrows,  carlyle.  "A  Modern  Frenchman", 
New  York  Herald  Tribune,  New  York,  March 
31,  1935. 

devree,    Howard.    "French    Abstraction",    The 
New  York  Times,  New  York,  March  31,  1935. 
offin,  charles  z.  "Another  New  Gallery  and 
M.  Xceron",  Brooklyn  Daily  Eagle,  Brooklyn. 
March  31,  1935. 

breuning,  Margaret.  "Garland  Gallery",  New 
York  Post,  New  York,  April  6,  1935. 
mcbride,   henry.  New   York  Sun,   New   York. 
April  6,  1935. 

M.  M.  "Xceron",  Art  News,  New  York,  vol.  33, 
no.  27,  April  6,  1935,  p.  14. 

godsoe,  robert  ulrich.  "The  Art  Marts",  News- 
day,  Garden  City,  Long  Island,  April  11,  1935. 


Xceron:  Recent  Paintings,  Nierendorf  Gallery,  New  York, 
opening  April  13,  1938. 

Reviews:  klein,  jerome.  New  York  Post,  New  York, 
April  23,  1938. 

M.   d.   "Abstractions   by   Jean    Xceron,   Greek- 
American  Artist",  Art  News,  New  York,  vol.  36. 
no.  31,  April  30,  1938,  p.  11. 
burrows,  carlyle.  "Purist  Abstractions",  New 
York  Herald  Tribune,  New  York,  May  1,  1938. 
jewell,  E.  A.  "Abstractions  by  Two",  The  New 
York  Times,  New  York,  May  1,  1938. 
nicolaides,  n.  "Ney  Kalitechniki  Orizontes  Ta 
Sphighodi  DimiourgimataTis  AphirimenisTech- 
nis,  Neon  Phos  Apo  Tin  Zographikin  Too  Jean 
Xceron",  National  Herald,  New  York,  May  7, 
1938. 

bird,  p.  "The  Fortnight  in  New  York",  Art 
Digest,  New  York,  vol.  12,  no.  16,  May  15,  1938, 
p.  18. 

Xceron,  Bennington  College,  Bennington,  Vermont,  Octo- 
ber 1-14,  1944. 

Radar  Painting  by  Xceron,  Knoedler  Gallery,  New  York, 
September,  1946. 

Xceron,  a  retrospective  exhibition  organized  by  Raymond 
Jonson,  traveled  to: 

Museum  of  New  Mexico,  Santa  Fe,  October  6-27,  1948. 

Reviews:  "Xceron  Paintings  Exhibited  at  State  Art  Gal- 
lery", Santa  Fe  New  Mexican,  Santa  Fe,  Octo- 
ber 14,  1948. 

D.  K.  "Erga  Too  Xceron  Tha  Ektethoun  Is 
Mouseia  Ditikon  Polition",  Atlantis,  New  York, 
November  5,  1948. 

University  of  New  Mexico,  Albuquerque,  November  4-17, 
1948. 

Review:  "Out-of-Town  Show  at  UNM  Gallery:  Jean 
Xceron  Paintings  Hung",  Albuquerque  Journal. 
Albuquerque,  November  10,  1948. 

Carlsbad  Library  Museum,  Carlsbad,  New  Mexico,  Decem- 
ber 1-15, 1948. 

Revieiv:  "Roderick  Mead  gives  Gallery  Talk  at  Opening 
of  Xceron  Show  Today",  Carlsbad  Argus,  Carls- 
bad, December  5,  1948. 

Art  Gallery,  UCLA,  Los  Angeles,  January  24-February 
14,  1949. 

Revieiv:  millier,  Arthur.  "The  Arts",  Los  Angeles  Times, 
Los  Angeles,  February  6,  1949. 

Art  Center  of  La  Jolla,  March  1-31,  1949. 

Review:  klapp,  freda  l.  "Current  Art  Exhibition  Impres- 
sive", La  Jolla  Light,  La  Jolla,  March  17,  1949. 

Santa  Barbara  Museum,  April  12-28,  1949. 

Review:  d.  b.  Santa  Barbara,  Santa  Barbara,  April  3, 1949. 

University  of  Washington,  Seattle,  July  6-31,  1949. 

Review:  University  Herald,  Seattle,  July  7,  1949. 

Xceron,  Sidney  Janis  Gallery,  New  York,  June  12-24,  1950. 

Reviews:  louchheim,  aline  b.  "Among  the  New  Shows". 
The  New  York  Times,  New  York,  June  18,  1950. 
chanin,  a.  l.  "World  of  Art",  The  Sunday  Com- 
pass, New  York,  June  25,  1950. 
adlow,  dorothy.  "Summer  Activity— and  Lack 
of  It",  The  Christian  Science  Monitor,  Boston, 
July  1,  1950. 


55 


k[rasne],  b[elle].  "Fifty-Seventh  Street  in 
Review:  Xceron  lines  up  Form",  Art  Digest, 
New  York,  vol.  24,  no.  18,  July  1,  1950,  p.  19. 
burrows,  carlyle.  "Summer  Art— Here  and  in 
the  Colonies",  New  York  Herald  Tribune,  New 
York,  July  2,  1950. 

visvardis,  John.  Eptanisos,  New  York,  vol.  3, 
no.  4,  July  1950,  p.  4. 

l[a]  f[arge],  h.  "Jean  Xceron's",  Art  News, 
New  York,  vol.  49,  no.  5,  September  1950,  p.  46. 
pesketzi,  tzina.  "Xeni  Pnevmatiki  Zoi  Ino- 
menes  Polities  Enas  Zografos  Apo  Tin  Elada", 
Nea  Estia,  Athens,  September  1950,  p.  1398. 

Xceron:  New  Paintings,  Rose  Fried  Gallery,  New  York, 
March  7-26,  1955. 

Reviews:  estet.  The  National  Herald,  New  York,  March 
3,  1955. 

p[reston],  s[tuart].   The  New  York  Times, 
New  York,  March  12,  1955. 
g[eorge],  l[averne].  "Jean  Xceron",  Art  Di- 
gest, New  York,  vol.  29,  no.  12.  March  15,  1955, 
p.  26. 

g[enauer],  e[mily].  "New  Works  by  Xceron", 
New  York  Herald  Tribune,  New  York,  March 
19,  1955. 

h[ess],  t[homas]  b.  "Jean  Xceron",  Art  News, 
New  York,  vol.  54,  no.  1,  March  1955,  p.  51. 
vasileiou,  p.  "Jean  Xceron",  Ethnos,  Athens, 
June  5,  1955. 

Xceron:  Exhibition  of  Paintings  1956-1957,  Rose  Fried 
Gallery,  New  York,  April  16-May  31,  1957. 

Reviews:  preston,  stuart.  The  New  York  Times,  New 
York,  April  20,  1957,  p.  9. 

burrows,  carlyle.  "Art  on  View",  New  York 
Herald  Tribune,  New  York,  April  21,  1957. 
s[chuyler],  j[ames].  "Jean  Xceron",  Art 
News,  New  York,  vol.  56,  no.  2,  April  1957,  p.  11. 
b[arry],  j.  g.  "Jean  Xceron",  Pictures  on  Ex- 
hibit, New  York,  vol.  20,  May  1957,  pp.  19-20. 
m[ellow],  j[ames]  r.  "Jean  Xceron",  Arts, 
New  York,  vol.  31,  no.  5,  May  1957,  p.  52. 

Xceron,  Newcomb  College,  Tulane  University,  New  Or- 
leans, October  15-November  4,  1957.  Organized  by  George 
Rickey. 

Reviews:  Atlantis,  New  York,  November  8, 1957. 

lamprakis.  Nea,  Athens,  vol.  13,  no.  3852,  De- 
cember 10,  1957. 

Xceron:  Recent  Paintings,  Rose  Fried  Gallery,  New  York, 
April  19-May  7, 1961. 

Reviews:  preston,  stuart.  "International  Set",  The  New 
York  Times,  New  York,  April  24,  1960. 

g[enauer],  e[mily].  "Xceron  Show",  New  York 
Herald  Tribune,  New  York,  May  1,  1960. 

hadjipetros,  a.  The  National  Herald,  New  York, 
May  3, 1960. 

butler,  Barbara.  "Contemporary  Classicism", 
Art  International,  Zurich,  vol.  4,  no.  5,  May  25, 
1960,  pp.  39-40. 

s[andler],  i[rving]  h.  "6  for  May:  Xceron", 
Art  News,  New  York,  vol.  59,  no.  3,  May  1960. 
pp.  40,  50. 

s [tiles],  g.  "Gallery  Previews  in  NewYork: 
Jean  Xceron",  Pictures  on  Exhibit,  New  York, 
vol.  27,  no.  8,  May  1960,  p.  20. 


mellow,  james  r.  "Jean  Xceron  at  Seventy", 
Arts,  New  York,  vol.  34,  no.  9,  June  1960,  pp. 
30-33. 

Xceron,  Rose  Fried  Gallery,  New  York,  May  16-June  30, 
1961.  Watercolor  exhibition. 

Reviews:  preston,   stuart.   "Recent   Watercolors",    The 
New  York  Times,  New  York,  May  20,  1961. 
G  [enauer]  ,  e  [mily]  .  "The  Lively  Arts :  Xceron", 
New  York  Herald  Tribune,  New  York,  May  27, 
1961. 

levick,  l.  e.  "Gallery  Guide",  New  York  Journal 
American,  New  York,  May  27,  1961. 
dolbin,b.f.  "Ausstellungen:  Jean  Xceron".  Auf- 
bau,  New  York,  June  2,  1961. 
p[ease],  r[oland]  f.,  jr.  "Jean  Xceron",  Pic- 
tures on  Exhibit,  New  York,  vol.  22,  no.  9,  June 
1961. 

ziogas,  e.  Krikos,  London,  vol.  12,  no.  126,  June 
1961,  p.  21. 

ashton,  dore.  "Other  Exhibitions",  Arts  and 
Architecture,  Los  Angeles,  vol.  78,  July  1961, 
pp.  5,  29. 

c[ampbell],  l[awrence].  "Jean  Xceron",  Art 
News,  New  York,  vol.  60,  no.  4,  Summer  1961, 
p.  12. 

raynor,  vivien. "In  the  Galleries:  Xceron",  Arts 
Magazine,  New  York,  vol.  35,  no.  10,  September 
1961,  p.  40. 

Xceron:  Selection  of  Paintings  1929-1962,  Rose  Fried  Gal- 
lery, New  York,  April  16-May  19,  1962. 

Reviews:  levick,  l.  e.  "Art  and  Artists:  Abstract  Show 
Offers  Realist  'Fringe  Benefits' ",  New  York 
Journal  American,  New  York,  section  7,  April 
21,  1962. 

preston,  stuart.  "Painting  by    Xceron",  The 
New  York  Times,  New  York,  April  21,  1962. 
Christy,  george.  "City  Lights",  The  National 
Herald,  New  York,  April  22,  1962. 
sandler,  irving  H.  "In  the  Art  Galleries",  New 
York  Post,  New  York,  April  29,  1962. 
s[andler],   i[rving]    h.    "Jean   Xceron",   Art 
News,  New  York,  vol.  61,  no.  2,  April  1962,  p.  11. 
p[ease],  r[oland]   f.,  jr.  "Gallery  Previews: 
Xceron  at  Rose  Fried",  Pictures  on  Exhibit,  New 
York,  vol.  25,  no.  8,  May  1962,  pp.  22-23. 

Xceron:  Exhibition  of  Recent  Paintings,  Rose  Fried  Gal- 
lery, New  York,  April  3-May  2,  1963. 

Reviews:  "Jean  Xceron",  New  York  Herald  Tribune,  New 
York,  April  6,  1963. 

preston,  stuart.  "Jean  Xceron",  The  New  York 
Times,  New  York,  April  13,  1963,  p.  16. 
"Xceron  at  Fried",  Manhattan  East,  New  York, 
April  18,  1963. 

levick,  l.  e.  New  York  Journal  American,  New 
York,  April  20,  1963. 

de  knight,  avel.  "Jean  Xceron  chez  Rose  Fried", 
F  ranee- Amerique,  New  York,  April  28,  1963, 
p.  19. 

l[onngren],  l[illian].  "Jean  Xceron",  Art 
News,  New  York,  vol.  62,  no.  3,  May  1963,  p.  14. 
r[oss],  f[elice]  t.  "Gallery  Previews  in  New 
York:  Jean  Xceron",  Pictures  on  Exhibit,  New 
York,  vol.  26,  no.  8,  May  1963,  p.  16. 
raynor,  vivien.  "In  the  Galleries :  Jean  Xceron", 
Arts  Magazine,  New  York,  vol.  37,  May-June 
1963,  p.  112. 


56 


Jean  Xceron -.Recent  Paintings,   Goldwach   Gallery,   Chi- 
cago, November  12-December  15,  1963. 

Review:  "The  Art  World:  New  Exhibits  Here  Offer  Va- 
riety". Chicago  American,  Chicago.  November 
17,  1963. 

Xceron:   Recent  Oils,    Watercolors  and  Drawings,   Rose 
Fried  Gallery,  New  York,  April  22-May  23,  1964. 

Reviews:  genauer,  emily.  "The  Galleries:  Jean  Xceron", 
New  York  Herald  Tribune,  New  York.  April  25. 
1964. 

o'doherty,   brian.    "Xceron",    The   New    York 
Times,  New  York,  May  2,  1964. 
"Art  in  New  York",  Time,  New  York,  May  8, 
1964. 

Roberts,  colette.  "Xceron  chez  Rose  Fried". 
France-Amerique,  New  York,  May  10,  1964. 
Johnson,    marguerite.    "Art    in    New    York". 
Time,  New  York,  May  15,  1964. 
marketos.  b.  j.  "Xceron",  The  National  Herald, 
New  York,  May  20,  1964. 

dolbin,  b.  f.  "Xceron",  Aufbau,  New  York,  May 
22,  1964. 

B[ROWN],G[oRDON]."Jean  Xceron",  Art  Voices, 
New  York,  vol.  3,  no.  5,  June  1964,  p.  9. 
r[oss],  f[elice]  t.  "Gallery  Previews  in  New 
York:  Jean  Xceron",  Pictures  on  Exhibit,  New 
York,  vol.  27,  no.  9,  June  1964,  p.  16. 
tillim,  Sidney.  "Xceron",  Arts  Magazine,  New 
York,  vol.  38,  no.  10,  September  1964,  p.  66. 


GROll'  EXHIBITIONS 


Ecole  de  Paris,  Galerie  Dalmau.  Barcelona.  December 
1929. 

Review:  faigairolle,  a.  de.  "Asphalte.  6  tableau  sonore 
derriere  lequel  il  retentit  quelque  chose",  L'ln- 
transigeant,  Paris,  December  6.  1929. 

Greek  Artists  in  Paris,  Zappeion,  Athens,  November-De- 
cember 1930. 

Contemporary  French  Painters,  Arts  and  Crafts  Club. 
New  Orleans,  March-April  1931.  Catalogue  by  E.  Teriade. 

Exposition  Artistes  Americains  de  Paris,  Galerie  de  la 
Renaissance,  Paris,  January  18-February  6,  1932.  Cata- 
logue preface  by  Chil  Aronson. 

Review:  teriade,  e.  "Les  artistes  Americains",  L'lntran- 
sigeant,  Paris,  January  25,  1932. 

Collection  des  Cahiers  d'Art,  Hotel  Drouot,  Paris,  auc- 
tion April  12,  1933.  Catalogue:  Moniteur  des  Ventes. 

Revista  Anual  do  Salao  de  Maio,  Mayo  Gallery,  Sao 
Paulo,  opening  May  11,  1939.  Catalogue  introduction  by 
Flavio  Carvallio. 


Art  of  Tomorrow,  Museum  of  Non-Objective  Painting, 
New  York,  opening  June  1,  1939.  Catalogue  introduction 
by  Hilla  Rebay. 

Review:  M.u.  "Art  of  Tomorrow:  Guggenheim  Non-Ob- 
jective Painting  on  View  in  New  Gallery",  New 
York  Sun,  New  York,  June  10,  1939. 

Oeuvres  des  artistes  apres  1920.  Galerie  Charpentier, 
Paris,  July  17-31,  1939.  2nd  exhibtion  of  Salon  des  Reali- 
tes  Nouvelles. 

Golden  Gate  Exposition  of  Contemporary  American  Paint- 
ing, Palace  of  Fine  Arts,  San  Francisco,  March-December 
2,  1939.  Group  loan  from  the  Museum  of  Non-Objective 
Painting,  New  York. 

Review:  morley,  g.  l.  "San  Francisco  presents  One  Man's 
Opinion  of  Living  American  Art",  Art  Digest, 
New  York,  vol.  13,  no.  12,  March  15,  1939,  pp. 
27-32;  addendum:  "Living  Americans",  pp.  45- 
46. 

American  Art  Today,  United  States  Pavilion,  New  York 
World's  Fair,  opening  September  28,  1939.  Catalogue  in- 
troduction by  flolger  Cahill. 

Review:  bear,  d.  "American  Art  Todav",  Art  Digest,  New 
York,  vol.  13,  no.  17,  June  1,  1939,  pp.  20-25,  33. 

Exhibition  of  Contemporary  Greek  and  Greek-American 
Art,  Greek  Pavilion,  New  York  World's  Fair,  opening 
August  25,  1939. 

Group  Exhibition,  Pinacotheca  Gallery,  New  York,  Octo- 
ber 15-November  1,  1940. 

Art  Auction  for  Aid  to  Greece,  Barbizon  Plaza  Hotel 
Galleries,  New  York,  December  22,  1940.  Sponsored  by 
Greek  War  Relief  Association. 

Contemporary  American  Artists,  R.  H.  Macy's  Company, 
New  York,  opening  January  6,  1942.  Exhibition  organized 
by  Samuel  Kootz. 

Artists  of  the  United  Nations,  National  Arts  Club  Gal- 
leries, New  York,  February  4-March  1,  1942. 

Masters  of  Abstract  Art,  New  Art  Center,  New  York, 
April  1-May  15,  1942.  Catalogue  foreword  by  Stephen  C. 
Lion.  Helena  Rubenstein's  Gallery. 

Third  Group  Show  Commemorating  the  Fifth  Anniversary 
of  the  Solomon  R.  Guggenheim  Foundation,  Museum  of 
Non-Objective  Painting,  New  York,  June  25-October 
1.  1942. 

Review:  "American  Non-Objective  Painting  Reviewed". 
Art  Digest,  New  York,  vol.  16,  no.  19.  August 
1,  1942,  p.  12. 

Art  as  Exhibited  from  1922  to  1942,  Nierendorf  Gallery, 
New  York,  opening  December  8,  1942. 

American  Modern  Artists,  Riverside  Museum,  New  York. 
January  17-February  27,  1943. 

Benefit  of  Greek  War  Relief,  Marquie  Gallery,  New  York, 
June' 15-30,  1943. 

Exhibition  of  Sculpture  and,  Drawings,  Chinese  Gallery. 
New  York,  December  7-30,  1944.  Organized  by  Federation 
of  Modern  Painters  and  Sculptors. 

1st  Biennial  Exhibition  of  Drawings  by  American  Artists, 
Los  Angeles  County  Museum,  February  18-April  22,  1945. 

Contemporary  American  Painting,  California  Palace  of 
the  Legion  of  Honor,  San  Francisco  Museum,  May  17-June 
17,   1945.  Catalogue  introduction  by  Jermayne  MacAgy. 


57 


Group  Exhibition,  Pinacotheca  Gallery,  New  York,  May 
25-June  16,  1945. 

Portrait  of  America:  2nd  Annual  Artists  for  Victory, 
Rockefeller  Center,  New  York,  November  1945.  Organized 
by  Pepsi-Cola  Company. 

Cubist  and  Non-Objective  Paintings,  John  Herron  Art 
Museum,  Indianapolis,  December  29,  1946-February  2, 
1947. 

121st  Annual  Exhibition,  National  Academy  of  Design, 
New  York,  January  4-22,  1947. 

3rd  Summer  Exhibition  of  Contemporary  Art,  State  Uni- 
versity of  Iowa,  Iowa  City,  June  15-30,  1947. 

Zeitgeniissische  Kunst  und  Kunstpflege  in  U.S.A.,  Kun- 
sthaus,  Zurich,  October-November  1947.  Catalogue  intro- 
duction by  W  Wartmann,  essay  by  Hilla  Rebay. 

Exhibition,  Columbus  Gallery  of  Fine  Arts,  Ohio,  Febru- 
ary 26-March  28,  1948. 

Art  Americain  Contemporain,  Galerie  Georges  Giroux, 
Brussels,  March  20-April  10,  1948.  Catalogue  biographical 
note  on  Xceron  by  Alonzo  Lansford. 

The  Eva  Underhill  Holbrook  Memorial  Collection, 
Museum  of  Fine'"  Arts,  University  of  Georgia,  Athens, 
1948.  Catalogue  foreword  by  Harmon  Caldwell. 

Artists  for  Neighborhood  Art,  Sidney  Janis  Gallery  and 
Betty  Parsons  Gallery,  New  York,  auction  February 
12,  1949. 

Contemporary  American  Painting,  Morse  Gallery  of  Art, 
Rollins  College,  Winter  Park,  Florida,  March  1949.  Organ- 
ized by  Ferargil  Gallery,  New  York. 

10th  Anniversary  Exhibition,  Museum  of  Non-Objective 
Painting,  New  York,  May  31-September  1949. 

Group  Exhibition,  Lotos  Club,  New  York,  to  March  5, 
1950.  Organized  by  Federation  of  Modern  Painters  and 
Sculptors. 

Contemporary  American  Paintings,  John  Herron  Art 
Museum,  Indianapolis,  January  7-February  4,  1951. 

The  Evolution  in  Painting  from  1900  to  1952,  Museum  of 
Non-Objective  Painting,  New  York,  opening  April  29, 1952. 

Mostra  Fondazione  Solomon  R.  Guggenheim,  Fondazione 
Origine,  Rome,  January  24-February  20,  1953. 

The  Classic  Tradition  in  Contemporary  Art,  Walker  Art 
Center,  Minneapolis,  April  24-June  28,  1953.  Catalogue 
introduction  by  H.  H.  Arnason;  summary,  Art  Digest, 
New  York,  vol.  27,  no.  13,  April  1,  1953,  p.  7. 

Celebrity  Art  Show:  Exhibition  and  Sale,  Delmonico 
Hotel,  New  York,  March  19,  1954. 

The  Greek  Earthquake  Appeal,  Sotheby  Gallery,  London, 
October  4-6,  1954.  Auction. 

Nebraska  Art  Association:  65th  Annual  Exhibition,  Joslyn 
Art  Museum,  Omaha,  April  10-May  10,  1955. 

Museum  of  Modern  Art,  Tokyo,  1955.  American  Abstract 
Artists  exhibition. 

International  Collage  Exhibition,  Rose  Fried  Gallery,  New 
York,  February  13-March  17,  1956. 

Seven-man  Exhibition,  Rose  Fried  Gallery,  New  York. 
May  31-July  1,  1956. 

Presented  by  the  Georgians,  Yale  University  Art  Gallery, 
New  Haven,  February  27-March  13,  1957. 

The  Sphere  of  Mondrian,  Contemporary  Arts  Museum, 
Houston,  February  27-March  24,  1957. 


Trends  in  Watercolor  Today,  The  Brooklyn  Museum,  New 
York,  April  9-May  26,  1957. 

Silverrnine  Guild  of  Artists,  Silvermine  School,  New 
Canaan,  September  26-October  25,  1957. 

20th  Century  Works  of  Art,  University  of  Illinois,  Urbana, 
September  29-October  27,  1957.  Catalogue  foreword  by 
Allan  S.  Weller. 

Collage  in  America,  Zabriskie  Gallery.  New  York,  Decem- 
ber 1957. 

Exhibition  and  Sale:  American  and  European  Artists, 
Treatment  Center,  New  York  Psychoanalytic  Institute, 
New  York,  January  17-19,  1958. 

Dedication  Exhibition,  Georgia  Museum  of  Art,  Univer- 
sity of  Georgia,  Athens,  January  28-February  28,  1958. 

The  University  of  Illinois  Collection  of  Twentieth  Century 
Painting,  School  of  Art,  Syracuse  University,  November- 
30-December  29, 1959. 

20th  Century  Art  Exhibition  and  Sale,  Post  Graduate 
Center  for  Psychotherapy,  New  York,  January  18-23,  1960. 

The  Current  Scene:  American  Painting  and  Pure  Abstrac- 
tion, The  Classic  Image,  Esther  Stuttman  Gallery,  New 
York,  November  8-December  3,  1960. 

Dedication  Exhibition,  Krannert  Art  Museum,  University 
of  Illinois,  Urbana,  May  20-June  1961. 

International  Avant  Garde,  Art  Association  of  Newport, 
Rhode  Island,  July  15-30,  1961.  Organized  by  Rose  Fried 
Gallery,  New  York. 

Contemporary  Painting,  Yale  University  Art  Gallery,  New 
Haven,  December  7,  1961-February  4,  1962. 

Exposition  International  du  Constructivisme,  Musee  d'Art 
Moderne  de  Ceret,  France,  opening  September  8,  1962. 

Recent  American  Drawings,  Louis  Alexander  Gallery, 
New  York,  September  25-October  13,  1962. 

Cezanne  and  Structure  in  Modern  Painting,  The  Solomon 
R.  Guggenheim  Museum,  June  2-October  13,  1963. 

Review  of  the  Season  1962-1963,  Parke-Bernet  Galleries, 
New  York,  June  18-July  27,  1963.  Organized  by  Art  Deal- 
ers Association  of  America. 

The  Classic  Spirit  in  20th  Century  Art,  Sidney  Janis  Gal- 
lery, New  York,  February  2-29,  1964. 

Review:  kelly,  edward.  "Humanism  in  Geometric  Art", 
Art  Voices,  New  York,  vol.  3,  no.  3,  March  1964, 
pp.  23-24. 

Exhibition  of  Paintings  and  Sculpture,  Riverside  Museum, 
New  York,  May  3-August  2,  1964. 

Society  for  Contemporary  American  Art:  24th  Annual 
Exhibition,  Chicago  Art  Institute,  May  3-31,  1964. 

American  Art  Today,  New  York  Pavilion  of  Fine  Arts, 
World's  Fair,  New  York,  June  22-October  22,  1964. 

West  Side  Artists:  New  York  City,  Riverside  Museum, 
New  York,  September  27-November  8.  1964. 

Abstraction,  Expressionism,  Abstract-Expressionism,  In- 
ternational Gallery.  Baltimore,  October  14-  November  7, 
1964. 

Rickey  Collection,  Albany  Institute  of  History  and  Art, 
New  York,  March  12-April  4,  1965.  Catalogue  note  by 
George  Rickey. 

Artists  for  Core,  Graham  Gallery.  New  York,  April  29- 
May  8,  1965. 


58 


CROUP  EXHIBITIONS:  Recurring  and  Traveling 


AMERICAN  ABSTRACT  ARTISTS 

4th  Annual  Exhibition,  Galerie  St.  Etienne,  New  York, 
May  22-June  12,  1940.  Catalogue  introduction  by  George 
L.  K.  Morris. 

5th  Annual  Exhibition,  Riverside  Museum,  New  York, 
February  9-23,  1941. 

6th  Annual  Exhibition,  American  Fine  Arts  Gallery.  New 
York,  March  9-23, 1942. 

7th  Annual  Exhibition,  Riverside  Museum,  New  York, 
March  16-April  25, 1943. 

9th  Annual  Exhibition,  Riverside  Museum,  New  York, 
March  11-April  15,  1945. 

10th  Annual  Exhibition,  American-British  Art  Center, 
New  York,  March  25-April  13,  1946. 

18th  Annual  Exhibition,  Riverside  Museum,  New  York, 
March  7-28,  1954. 

20th  Annual  Exhibition,  Riverside  Museum,  New  York, 
April  8-May  20,  1956. 

21st  Annual  Exhibition,  Riverside  Museum,  New  York, 
April  22-May  11,  1957. 

22nd  Annual  Exhibition,  Riverside  Museum,  New  York. 
March  2-30,  1958. 

24th  Annual  Exhibition,  Riverside  Museum,  New  York, 
February  28-March  27, 1960. 

25th  Annual  Exhibition,  Lever  House,  New  York,  April 
3-21,  1961. 

26th  Annual  Exhibition,  IBM  Gallery,  New  York,  Febru- 
ary 5-24, 1962. 

27th  Annual  Exhibition,  East  Hampton  Gallery,  New 
York,  May  7-June  1, 1963. 

29th  Annual  Exhibition,  Riverside  Museum,  New  York, 
March  9-April  24, 1965. 


AMERICAN  FEDERATION  OF  ARTS 

Exhibitions  circulating  in  United  States: 

Contemporary  Trends,  1954.  Organized  by  the  Federation 
of  Modern  Painters  and  Sculptors. 

Purist  Painting,  1960-1961. 

Elements  of  Modern  Art  II,  February-May  1965.  Organ- 
ized by  The  Solomon  R.  Guggenheim  Museum. 


CARNEGIE  INSTITUTE,  Pittsburgh 

Directions  in  American  Painting,  October  23-December 
14, 1941. 

Reviews:  "Carnegie  Institute  Exhibition  Opens", 
Athene,  Chicago,  vol.  2,  no.  10,  October  1941, 
pp.  5,  17. 

gaul,  harvey.  "Directions  in  American  Paint- 
ing", Musical  Forecast,  Pittsburgh,  vol.  41,  no. 
3,  November  1941,  pp.  5-10. 

Painting  in  the  United  States: 
October-November  1942; 
October  14-December  12,  1943; 


Review:  b[oswell],  p[eyton]  jr.  "Carnegie  Presents 
Cross-Section  of  Painting  in  the  United  States", 
Art  Digest,  New  York,  vol.  18,  no.  2,  October  15, 
1943,  pp.  5-6,  30. 

October  12-December  10,  1944. 

Review:  riley,  m.  "Carnegie  Institute  Opens  Exciting 
Survey  of  American  Painting",  Art  Digest,  New 
York,  vol.  19,  no.  2,  October  15,  1944,  pp.  5-6,  26. 

October  10-December  8, 1946 ; 

October  9-December  7, 1947; 

October  14-December  12, 1948; 

Review:  breuning,  Margaret.  "Carnegie  Opens  Its  Fifth 
Survey  of  Painting  in  the  United  States",  Art 
Digest,  New  York,  vol.  23,  no.  2,  October  15, 
1948,  pp.  9-10. 

October  13-December  11, 1949. 

Pittsburgh  International,  October  19-December  21,  1950. 


FEDERATION  OF  MODERN  PAINTERS 
AND  SCULPTORS 

4th  Annual  Exhibition,  National  Arts  Club,  New  York, 
March  14-31, 1944. 

5th   Anniversary   Exhibition,   Wildenstein    Gallery,    New 
York,  September  12-29,  1945. 

6th  Annual  Exhibition,  Wildenstein  Gallery,  New  York. 
September  18-October  5, 1946. 

8th  Annual  Exhibition,  Wildenstein  Gallery,  New  York, 
September  14-October  2,  1948. 

9th  Annual  Exhibition,  National  Arts  Club,  New  York. 
October  12-29, 1949. 

10th  Annual  Exhibition,  New  School  for  Social  Research, 
New  York,  opening  November  10, 1950. 

11th  Annual  Exhibition,  National  Arts  Club,  New  York, 
September  24-October  9,  1951. 

12th  Annual  Exhibition,  National  Arts  Club,  New  York, 
1952. 

13th  Annual  Exhibition,  Riverside  Museum,  New  York, 
January  10-31, 1953. 

14th  Annual  Exhibition,  Riverside  Museum,  February  28- 
March  12, 1954. 

15th  Annual  Exhibition,  Riverside  Museum,  New  York, 
November  13-December  4, 1955. 

16th  Annual  Exhibition,  Riverside  Museum,  New  York, 
November  4-25,  1956. 

18th  Annual  Exhibition,  Riverside  Museum,  New  York, 
November  2-23, 1958. 

20th  Annual  Exhibition,  Riverside  Museum,  New  York, 
October  30-November  27, 1960. 

21st  Annual  Exhibition,  Riverside  Museum,  New  York, 
November  12-December  10,  1961. 

22nd  Annual  Exhibition,  Lever  House,  New  York,  January 
13-27, 1963. 


59 


23rd  Annual  Exhibition,  Lever  House.  New  York,  January 
12-26, 1964. 

24th  Annual  Exhibition,  Lever  House,  New  York,  January 
10-24,  1965. 

ROSE  FRIED  GALLERY,  New  York 
Modern  Masters : 

December  15, 1952-January  15, 1953; 
November  20-December  1961 ; 
January  11-February  15, 1964. 

GROUP  INTIME,  Ferargil  Gallery,  New  York,  1946, 
1948-1952. 

THE  SOLOMON  R.  GUGGENHEIM  MUSEUM, 
New  York 

Before  1953  The  Museum  of  Non-Objective  Painting  Trav- 
eling exhibitions,  circulating  in  United  States: 

Circulating  Exhibition,  1951-1952. 

Eighteen  Non-Objective  Paintings,  1951-1953. 

Watercolors,  1960-1961. 

Participated  in  The  Solomon  R.  Guggenheim  Museum's 
extended  loan  program,  1953-1961. 

Group  exhibitions  at  the  Museum: 

Loan  Exhibition 

openings:  June  15,  October  15, 1943; 

April  15,  October  15, 1944; 

June  6,  December  5, 1945; 

June  5,  October  15, 1946; 

February  12,  July  15,  October  15,  1947: 

October  11,  1949; 

February  21,  June  20,  November  14,  1950: 

April  3,  November  27,  1951. 

Selection  IV,  October  6, 1954-February  27,  1955. 
Selection  VI,  January  25-May  1, 1956. 
Summer  Selection,  1962,  July  3-September  30,  1962. 
Museum  Collection,  Spring  1963,  April  19-June  2,  1963. 

INTERNATIONAL  COUNCIL  OF  THE  MUSEUM 
OF  MODERN  ART,  New  York 

Abstract  Drawings  and  Watercolors:  U.S.A.,  circulated 
January  14,  1962-May  28,  1963  to: 

Museo  de  Bellas  Artes,  Caracas ;  Museu  de  Arte  Moderna. 
Rio  de  Janeiro;  Museu  de  Arte  Moderna,  Sao  Paulo; 
Museo  de  l'Arte  Moderno,  Buenos  Aires;  Museo  Munici- 
pal de  Bellas  Artes,  Montevideo;  Reifschneider  Gallery. 
Santiago;  Instituto  de  Arte  Contemporaneo,  Lima;  Casa 
de  la  Cultura  Equatoriana,  Guayaquil,  Ecuador;  Museo 
de  Arte  Colonial,  Quito,  Ecuador;  Museo  Nacional,  Bo- 
gota; Instituto  Panameno  de  Arte,  Panama;  Palacio  de 
Bellas  Artes,  Mexico  City. 

SALON  DES  REALITES  NOUVELLES 
Musee  des  Beaux-Arts  de  la  Ville  de  Paris: 


1st  exhibition,  1947;  2nd  exhibition,  July  1948;  4th  ex- 
hibition, 1950;  5th  exhibition,  June  1951;  6th  exhibition. 
July  1952;  A  group  of  paintings  loaned  annually  by  The 
Museum  of  Non-Objective  Painting. 

SALON  DES  SURINDEPENDANTS 

Porte  des  Versailles,  Paris : 

4th  exhibition  opening  October  16,  1931 ;  6th  exhibition, 
October-November  1933;  7th  exhibition,  October-Novem- 
ber 1934. 

Review:  raynal,  maurice.  "La  Jeunesse  aux  'Surin- 
dependants'",  L'Intransigeant.  Paris,  October 
29, 1933. 

SOCIETY  OF  INDEPENDENT  ARTISTS 

Filth  Annual  Exhibition,  Waldorf  Astoria,  New  York, 
opening  March  6,  1921. 

Sixth  Annual  Exhibition,  Waldorf  Astoria,  New  York, 
opening  March  12, 1922. 

TOLEDO  MUSEUM  OF  ART,  Ohio 

Contemporary  American  Painting:  34th  Annual  Exhibi- 
tion, June-August  1947; 

35th  Annual  Exhibition,  June- July  1948. 


UNIVERSITY  OF  ILLINOIS,  Urbana 

Exhibition   of   Contemporary   American   Painting:    First 
Annual,  Spring  1948. 

Second  Annual,  February  27-April  3, 1949; 

Third  Annual,  February  26-April  2,  1950; 

Fourth  Annual,  March  4-April  15,  1951.  Purchase  prize 
awarded  to  Xceron. 

Reviews:  "Six  New  Yorkers  Win  Illinois  University  Art 
Prizes",  The  New  York  Times,  New  York,  April 
10, 1951. 

"Illinois'  Faculty  Makes  Its  Choice",  Art  Digest. 
New  York,  vol.  25,  no.  14,  April  15,  1951,  p.  11. 
"Xceron's  Beyond  White  Bought  by  Illinois 
University",  Atlantis,  New  York,  May  13,  1951. 
ziogas,  e.  Krikos,  London,  nos.  8-9.  May-June 
1951,  p.  34. 

Contemporary  American   Painting  and  Sculpture:  Sixth 
Annual,  March  1 -April  12, 1953; 

Eighth  Annual,  March  3-April  7, 1957; 

Eleventh  Annual,  March  3-April  7,  1963. 

(Recurring  exhibition  with  changed  title) 

WHITNEY  MUSEUM  OF  AMERICAN  ART,  New  York 

Annual  Exhibition  of  Contemporary  American  Painting; 
December    10,    1946-January    16,    1947;    November    10- 
December  31,  1950;  November  6.  1952-January  4.  1953: 
November  9,  1955-January  8,  1956:   December  11,  1963- 
February  2,  1964. 


THE  SOLOMON  R.  GUGGENHEIM  MUSEUM 


STAFF 


Director 


Thomas  M.  Messer 


Curator 

Associate  Curator 
Research  Fellows 
Librarian 


Lawrence  Alloway 

Louise  Averill  Svendsen 

Carol  Fuerstein  and  Rose  Carol  Washton 

Mary  Joan  Hall 


Public  Affairs 

Membership 

Registrar 

Conservation 

Photography 

Custodian 


Everett  Ellin 

Carol  Tormey 

Alice  Hildreth  Goldman 

Orrin  Riley  and  Saul  Fuerstein 

Robert  E.  Mates 

Jean  Xceron 


Business  Administrator 


Glenn  H.  Easton,  Jr. 


Administrative  Assistant 
Office  Manager 
Purchasing  Agent 
Sales  Supervisor 
Building  Superintendent 
Head  Guard 


Viola  H.  Gleason 
Agnes  R.  Connolly 
Elizabeth  M.  Funghini 
Joseph  D.  Griffin,  Jr. 
Peter  G.  Loggin 
Fred  C.  Mahnken 


PHOTOGRAPHIC  CREDITS      All  photographs  but  the  following  were  made  by  Robert  E.  Mates  and  Paul  Katz : 

Dena,  New  York :  Portrait  of  Xceron. 

Otto  Nelson.  New  York:  Portrait  by  Torres  Garcia;  nos.43, 47, 50, 55. 
John  D.  Schiff,  New  York:  nos.  48,  52,  53. 


Exhibition  65/5  September-October,  1965 

3,000  copies  of  this  catalogue, 

designed  by  Herbert  Matter 

have  been  printed  by  Sterlip  Press 

in  August  1965 

for  the  Trustees  of  The  Solomon  R.  Guggenheim  Foundation 

on  the  occasion  of  the  exhibition 

"Jean  Xceron" 


THE   S0L0>10>    R.  CpK^E.XHEIM    Ml  SKI  >l 


1071    FIFTH    AVENUE,  NEW  YORK    10028